����ԭ��

Charity Talosig’s Piano Recital Highlights

As a Music Major with concentrations in Arranging and Piano Pedagogy, Charity Talosig recently performed a stunning senior piano recital. Navigating rhythmic complexities as well as quasi-orchestral effects, Talosig demonstrated her focus and discipline to her craft. Dr. David Brown summed it up well by stating, “Charity played with power, passion, sensitivity, nuance, accuracy, and stylistic integrity. Her recital performance demonstrated what is possible when a music major ‘majors’ on music, and ‘minors’ on everything else.” Ruth Brown adds, “Under pressure, Charity played with beautiful phrasing and balanced hands.” 

A spirit of camaraderie could be felt as Talosig collaborated with Peter Holloway, Julia Bachorik, and Emily Kindstedt. Talosig’s classmates look up to her as a leader in the music department, and she will leave a wonderful legacy after her graduation.

Check out Talosig’s , and enjoy some of her favorite excerpts below.

Concerto in A minor, Op. 16,

with Emily Kindstedt, piano

My final piece is one with which I have struggled the most, and yet is the biggest accomplishment in my piano career so far. I’ve learned how to really practice with this piece. I’ve torn this piece apart, analyzing the different chords, memorizing what makes this section different from the next, and implementing all sorts of practice strategies that I thought I would never use. I now present to you Grieg’s Piano Concerto in A minor.

French Suite No. 2 in C minor, Bach

These two movements are named after different French dances, which also explains the title of this suite. The lyrical “Allemande” is in duple meter and calls for a moderate tempo. Moving forward, the energetic “Courante,” which translates to “running,” is a fast dance in triple meter. These two dances are paired together and played in the above order.

Fantasia in C Major, Hob. XVII:4, Haydn

Haydn stars as the king of comic deception in this piece. He interweaves jokes throughout to play with the listeners’ ears—changing keys suddenly and giving unexpected turns here and there. Reminiscent of orchestral sounds, horn fifths show up three different times in three different keys. Just like Haydn wanted, I hope you find yourself smiling at the conclusion of this piece.

___

Charity Talosig’s recital was prepared under the direction of June Brus and is given in partial fulfillment of the requirements for a Bachelor of Music Degree with concentrations in Arranging and Piano Pedagogy.